Few shows go (and go, and go) like “Anything Goes,” the fizzy, Cole Porter-scored musical whose saga of oceangoing high jinks has been steaming across stages for nearly 80 years.

And if you want to snipe that the writing is slight and the jokes are often groaners: Honey, that ship has sailed.

Moonlight Stage Productions and director-choreographer Jon Engstrom know exactly what they’re dealing with in this durable comedy of love and subterfuge aboard a luxury liner. They’ve combined a highly capable cast with sparkling production values to make the most of the durable Broadway bonbon, whose most recent New York staging earned the Tony as best revival last year.

Of course, what has kept “Anything Goes” on the theatrical go-to list all these decades is mostly Those Songs. The 1934 musical brings us such Porter-penned gems as “It’s De-Lovely,” “I Get a Kick Out of You” and the title tune, which climaxes the first act with a fab tableau of mass tap-dancing on the Art Deco decks of the S.S. America (envisioned with pizazz by set designer N. Dixon Fish).

The star of the show is Jeffrey Scott Parsons, a polished singer and dancer who is an ideal fit for Billy Crocker, the fed-up young stockbroker who steals aboard the ship to land the gal of his dreams, Hope Harcourt (sweet-voiced Courtney Fero).

The heart of any “Anything Goes” staging, though, has to be Reno Sweeney, the frisky nightclub sensation and ex-evangelist who has a sweet spot for Billy. Moonlight fields a winning Reno in the musical veteran Tracy Lore. She has a big voice and plenty of brassy presence (and given the demands of the role, you can forgive a couple of line bobbles on the show’s opening night).

Engstrom’s production is savvy about the show’s often tongue-in-cheek laughs, and some of the best comic moments come from Barry Pearl as Moonface Martin, the D-list gangster attempting to hide out aboard ship. Pearl has slick timing and an effortless wit; he and Lore share one of the show’s best moments on the funny duet “Friendship.”

If anything could go from “Anything Goes,” it might be the subplot that has Moonface and Billy posing as Chinese visitors. If that veers into cultural stereotype, though, the show’s thread of self-satire makes the gambit at least a little less grating.

And if this is a musical that’s hard to feel seriously passionate about, it’s still (as the song goes) easy to love. (At least a little.)